Tamerlane: Sword of Islam, Conqueror of the World. Justin Marozzi

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СКАЧАТЬ walls are panelled with gold and blue tiles, and the ceiling is entirely of gold work,’ noted the incredulous Clavijo. It is clear from his breathless narrative that the Spanish envoy was not expecting anything like this untold splendour. Nor at this time would any other European, for whom the Orient was a dark, barbaric world. ‘From this room we were taken up into the galleries, and in these likewise everywhere the walls were of gilt tiles,’ Clavijo continued.

      We saw indeed here so many apartments and separate chambers, all of which were adorned in tile work of blue and gold with many other colours … Next they showed us the various apartments where Temur was wont to be and to occupy when he came here with his wives; all of which were very sumptuously adorned as to floors and walls and ceilings … we visited a great banqueting hall which Temur was having built wherein to feast with the princesses, and this was gorgeously adorned, being very spacious, while beyond the same they were laying out a great orchard in which were planted many and diverse fruit trees, with others to give shade. These stood round water basins beside which there were laid out fine lawns of turf. This orchard was of such an extent that a very great company might conveniently assemble here, and in the summer heat enjoy the cool air beside that water in the shade of these trees.

      These were the opulent gardens of an emperor maintaining a self-consciously Mongol court in the tradition of Genghis Khan. Shakhrisabz, the Green City, was entering its golden age. In 1379, said Yazdi, ‘The emperor, charmed with the beauties of this city, the purity of the air in its plains, the deliciousness of its gardens, and the goodness of the waters, made it his ordinary residence in summer and declared it the second seat of his empire.’

      Ak Sarai palace, more than any other built by Temur, was designed to impress, to demonstrate, in the words of the Kufic inscription on the eastern tower, that ‘the Sultan is the shadow of Allah [on earth]’. Legend describes how Temur, infuriated by the curtailed inscription ‘the Sultan is a shadow’ on the western tower, flung the craftsman responsible from the top of the palace. Other inscriptions paid elaborate tribute to the Tatar’s shining qualities. ‘Oh Benefactor of the People, long may you rule like Sulayman. May you be like Nuh in longevity! May this palace bring felicity [to its tenant]. The Heavens are astonished at its beauty,’ read one. ‘The Sultan binds his enemies with [the chains of] his good deeds,’ thundered another. ‘Whosoever turns to him gains satisfaction. The fame of his good deeds, like a sweet odour, is ubiquitous. His goodness is evident. His face is clear and his motion agreeable.’ How tiny visitors would have felt as they passed through the portal. What a way to put one’s visitors in their place, to make them aware, if any doubts remained, that they were in the company of one of the greatest leaders on earth.

      The portal towers one sees today have been trimmed down to 120 feet by a combination of war, greed and the passage of time. Yet, even at less than 60 per cent of their original height, they rise majestically, dominating their immediate surroundings in an architectural creation that marries strength with finesse, elegance with simplicity. Towards the top of the towers, above the turquoise and navy-blue Kufic inscriptions of ‘Allah’ and ‘Mohammed’ – which to the untrained eye appear only as pretty geometric patterns – the devastating curve of the arch begins. No sooner has it begun its sweep across the heavens than it is instantly cut off by a chasm of sky. Each tower stands in dramatic isolation.

      The scale is overwhelming. But what must it have looked like in its full fantastically decadent glory, when the gold-encrusted roof reached to the stars, when Temur’s various wives – Clavijo counted eight during his stay – sashayed through the banqueting hall in their rustling silk dresses to take their places reclining among sumptuous cushions and brocades in a garden of pristine lawns and fruit trees, amid the streams and fountains? Here among the luxurious tents and awnings, lined with silk in summer and fur in winter, illuminated at night by the soft flicker of lamps, the song of their voices would have floated up towards the stars.

      The restorers have been at work here, and new tiles have replaced those which have not survived, but the essentially ruined state of the palace has been maintained. Temur’s most lavish monument is now little more than two foreshortened towers, sunk in the earth like the tusks of a giant beast brought to ground. But it is this very ruination that adds to the grandeur of the impression, a reminder that the original building was of a size and splendour beyond our imagination. Or, as an unusually flummoxed Clavijo put it, as workmen milled around him, still busy after all those years working on the palace, ‘such indeed was the richness and beauty of the adornment displayed in all these palaces that it would be impossible for us to describe’.

      It is still possible, sweating and panting in the streaming heat, to climb to the top for a vantage point over Shakhrisabz. (How much harder it would have been in Temur’s time, when the towers stood at their full height.) Farther afield to the south, the monumental blue dome of the Kok Gumbaz Mosque, built by Temur’s grandson Ulugh Beg in 1435–36, interrupts the leafy skyline. Another, smaller blue dome, a junior member of the family, sits next to it. Corrugated-iron roofs, pockets of blinding light, sizzle in the sun. Birds wheel and soar overhead on the thermals.

      Directly in front of the Ak Sarai palace, halfway down Victory Park, stands a statue of Temur. He stares into time with a far-off gaze, a symbol of strength and authority, protector of Shakhrisabz. He wears a simple crown. A large belt with a circular embossed buckle is fastened across a calf-length tunic trimmed with paisley patterns. A curved sword is fastened to his left side. A flowing gown hangs from his shoulders. The solid boots emphasise the sense of permanence and power.

      Nowadays, dwarfed by the statue and monumental plinth, regularly-spaced processions of bridal parties make their way towards it, laying flowers at Temur’s feet and having themselves photographed beneath the Father of the State. The end of each ceremony is marked by the popping of a bottle of Uzbek champagne. No sooner does one party depart than another arrives. It is a pleasant picture: young couples standing respectfully in front of the giant figure of Temur, framed by the ruined towers of his palace in the background. The women seem joyful, however nervous their smiles. But the men without fail look deadly serious, scowling into the cameras as though they would rather be somewhere else.

      Late on a sun-spattered October afternoon, several hundred yards away from Temur along the sprawling Ipak Yuli street which cleaves Shakhrisabz in two, a throng of elderly men adjourn to a local chaikhana (tea-house), where they sit languidly on cushions on a raised topchan (wooden platform), away from their wives and families. All wear the traditional chapan gown, some striped in bright purples and indigos, others black and faded. Some wear them as capes, with the distinctive long sleeves hanging down empty almost to their knees. Others have rolled up the sleeves. White, grey or black turbans or the more elaborate embroidered doppes perch on their heads like decorative nests. Most have beards, long manes of silver that they stroke from time to time, as unhurried as the passing of the seasons. Clustered together around glasses of kok chai (green tea), these men in their ancient costumes are remnants from another era, guardians of history, surrounded on all sides by a younger generation – clad in shell-suits, baseball caps and trainers – which has no time for the sartorial traditions of old.

      The tea-house is a fitting place for the elders to make their stand, for this is where the past – and the trail of Temur – begins in Shakhrisabz. Ipak Yuli street is a historical feast which begins with the delicate appetiser of the fourteenth-century Malik Azhdar Khanaqah, originally a refuge for wandering Sufi dervishes, later one of the town’s Friday mosques, and in Soviet times a simple museum. The procession of dishes continues with the fifteenth-century baths nearby, now under restoration. Next comes the Koba Madrassah (religious college), formerly a seat of learning teeming with rows of boys learning the Koran. Sometime in the last few years it careered into capitalism and evolved into a courtyard crammed with market stalls selling fake designer jeans, cheap shoes and trainers. Farther down the principal street, thrusting into the skyline with the arrogance of beauty, is the Dorut Tilovat, Seat of Respect and Consideration, whose centrepiece is the most extravagant dish of all, the Kok Gumbaz Mosque visible from the Ak Sarai palace, built by Ulugh СКАЧАТЬ